Among the most stimulating contemporary pronouncements on the
subject of the sublime is an interpretation of the phenomenon of
violence in mass culture that refers to the notion of "the
aesthetics of the sublime" (Crowther, Critical Aesthetics 129-30).
This can help us to realize how much the meaning of that technical term
(the sublime), used nowadays by philosophers, aestheticians, and
literary theorists, differs from the meaning usually associated with the
sublime and sublime phenomena in the ordinary use of language. Listening
to people we can observe that the sublime now frequently means noble and
morally positive.

In theoretical reflection a totally different notion is
fashionable. In 1984, Jean-Luc Nancy opened his article devoted to the
subject as follows: "The sublime is in fashion" (25, see also
Crowther, The Kantian Sublime 3). But he added immediately that the
fashion is very old. Indeed, if we look at the bibliography of the
sublime in English, we can even observe a kind of renaissance: there has
been an abundance of theoretical and critical, aesthetic, and general
philosophical texts dealing with the sublime since the end of the 70s.
(The most important texts are written mainly by Lyotard, but there are
other sources relevant here: Rachwal and Slawek, the reader Of the
Sublime ed. by Courtine, monographic issues of New Literary History and
Studies in Romanticism; Weiskel's Romantic Sublime.) This real
"eruption" of academic interest in the English speaking world
is accompanied by a revival in other countries. Special issues of
literary journals are devoted to the sublime in France, Sweden, and
Poland. Antholog ies dealing with the subject are published in France,
Netherlands, and Denmark. There is a growing interest in the sublime in
Germany and Italy.

In contemporary reflection on the subject, the sublime has many
dimensions, not only aesthetic but also ethical (Crowther Critical
Aesthetics, The Kantian Sublime; Ferguson "The Nuclear
Sublime"); general philosophical and psychological (Sussman,
Morris, Weiskel); political (Crowther Critical Aesthetics, Ramazani,
Shapiro, Ferguson "The Nuclear Sublime"); linguistic and
rhetorical (Holmqvist and Pluciennik); and sociological (Balfe). The
sublime may also induce us to think specifically about the political
motives of action (Kwiek).

A similar explosion of interest in the sublime can be found in
eighteenth-century pre-romantic Britain (see the reader edited by
Ashfield and de Bolla, Hipple, Monk). It is impossible here to decide
whether "the sublime" and "sublimity" used in the
eighteenth century have similar meanings as used today. (For complex
histories of the terms, see Wood, Cohn and Miles.) That is why we
initially treat the sublime as a kind of literary motif. It is certain
that the renaissance of the motif in the 1980s does not make it easy to
limit "the sublime" as a term of rhetoric or, generally, of
reflection on language. In eighteenth-century aesthetic reflections on
the sublime, there are astoundingly different accounts of the subject.
It may be said that all three theoretical "arche-texts of the
sublime" by Pseudo-Longinos, Burke, and Kant constitute
incomparable paradigms of talking about it (see Crowther, Critical
Aesthetics 115).

For instance, in Pseudo-Longinos' theory, the sublime has
distinct moral implications because it is strongly associated with a
kind of normative psychology. On the other hand, Burke's theory is,
broadly speaking, directed toward the aesthetics of such situations in
which some elements are felt either as painful or as threatening. Still,
Kant elaborates his theory in such a way that in his aesthetics the most
substantial is a response of reason to the overwhelming excess either of
greatness or power. Kant focuses on limitations of imagination when
confronted with ideas of reason (cf. Crowther, Critical Aesthetics 115).
However, there is something Burke and Kant have in common: they both
built their aesthetic theories on the dualism of the beautiful and the
sublime. This motif reappears in further reflection on the sublime many
times.

Contemporary theoreticians usually comment on the three
aforementioned arche-texts, Pseudo-Longinos, Burk, and Kant, often
ignoring the fact that the texts are theoretically complex. For
instance, when commenting on Burke, they fail to see his associationism and physiologism. While discussing Kant, they frequently happen not to
notice his metaphysics. The history of the sublime, as the history of
many crucial notions for the humanities, may be seen and understood as a
history of misreadings of the past (Nycz 3).

There is something ironic and perverse in the
contemporary-postmodern--renaissance of the sublime. The almost
two-thousand-year-old world history of the sublime is then full of
insinuations, ambiguities, and sudden pauses. Its sources are in the
lost treatise by Caecilius of Calakte and a defective response to it by
an unidentified author, a response which was accompanied through ages by
silence. From the time when the Pseudo-Longinian treatise Peri hypsous
came into existence in the first century A.D. until the sixteenth
century, when the treatise was published in Basel, European
intellectuals were not interested in the sublime. (1) It became popular
thanks to Nicholas Boileau's translation (published in 1674), which
developed the main thoughts of the treatise, often altering the general
ideological meaning of the original. Boileau also published commentaries
on Pseudo-Longinos entitled Reflexions Critiques sur Quelques Passages
du Rheteur Longin (published in 1694 and 1713). The next milestone in
the histor y of the sublime is A Philosophical Enquiry into the Origin
of Our Ideas of the Sublime and the Beautiful by Edmund Burke (1756/57).
The next great event in the history was Kant's Third Critique,
Kritik der Urteilskraft (1790), which contains the crucial Analytic of
the Sublime. (Earlier in 1764 Kant published a less influential work
devoted to the beautiful and the sublime, Beobachtungen Uber das Gefuhl
des Schonen und Erhabenen; cf. Kant Observations, Crowther The Kantian
Sublime, Klinger.) in Germany, Kantian ideas were developed by Friedrich
Schiller in Ober das Erhabene (first published in 1801) and Georg
Wilhelm Friedrich Hegel in Vorlesungen uber die A esthetik (1820), while
Burke's viewpoint was elaborated in Die Welt als Wille und
Vorstellung (1819) by Artur Schopenhauer. Romantics from all over Europe
developed, theoretically and practically, the ideas of the sublime found
in the works of their predecessors. On the surface, there was little
interest in the sublime in the second half of the nineteent h century.
(There is an interpretation of the theories of the French Symbolists,
mainly in Malarme, which shows their dependence on the aesthetics of the
sublime. Cf. Lokke 427-28.) It seems that in the twentieth century the
sublime was incompatible with the spirit of the age, and until the
pronouncements of Theodor Adorno (1970) and JeanFrancois Lyotard (1979),
who claimed the opposite, there had been no bold and systemic attempts
to revive it. Harold Bloom sees the last considerable interpretation of
the sublime in Freud's Das Unheimliche (first published in 1919)
(Macksey 931).

One of the most crucial problems in the theoretical thought on the
sublime is a linguistic problem. It is common in English, Polish, and
Swedish to equate qualities such as pathos, nobility, dignity, and
gravity with the sublime. This gives the notion of the sublime a special
moral dimension, present also in non-colloquial speech, which is
theoretically justifiable only to a certain extent in some elements of
Pseudo-Longinos' and Kant's theories.

Theoretical problems with the sublime as a research category in
linguistics are complicated by the fact that we have only one
archetypical text of the sublime--PseudoLonginos'
treatise--containing examples taken mainly from literature (broadly
understood). But Burke, who even sketches a very interesting theory of
language, uses few literary examples. The third grand work of the
sublime, Kant's Third Critique, deals mainly with the sublime in
nature and, additionally, in architecture. Literature is a marginal
reference here. Similarly, the father of the twentieth-century
renaissance of the sublime, Lyotard, employs this category as a tool to
describe abstract painting. Literature is a secondary concern in his
work.

We have more theoretical and terminological complications if we
consider the usual tradition of giving the sublime many epithets (Vijay
Mishra mentions this tradition and quotes several qualifications; cf.
The Gothic Sublime 21). Beside the theoretical varieties of the sublime
of Pseudo--Longinos, Burke, Kant, and some literary authors'
variations, such as William Wordsworth's sublime or Emily
Dickinson's sublime, there are also geographical and national
classifications: arctic," "American,"
"European," "Indian," and "Nordic." We can
find qualifications referring to epochs and cultural currents:
"medieval," "of the En Enlightenment,"
"Sentimental," "Romantic," "modern," and
"postmodern." We also have broader categorizations of the
sublime: "natural," "artificial" as well as
"supernatural," "oceanic,"
"technological," "urban," "industrial,"
"religious" (it is even possible to find "the Calvinist
sublime"), "non-Idealist," "Marxist,"
"moral," "poetic," and "material."
Different kinds of sublime attributed to so me genres seem worth
mentioning: the "gothic sublime," the "comic
sublime," the "avant-garde sublime," the
"apocalyptic sublime," the "wondertale sublime," and
the "saga sublime." Besides Kant's
"mathematical" and "dynamic" sublimes, we have
qualifications such as negative, positive, metaphoric, metonymic,
rhetorical, and theological. It should not be surprising to find
attributes of the sublime such as trivial, ironic, existential,
nihilistic, erotic, feminine, masculine, androgynous, egotistical,
hysteric, impersonal, nuclear, textual, perform ative, botanical,
angelic, and satanic, or even excremental. Moreover, there are special
neologisms, very hard to translate into other languages: sublimicism and
sublimicist (see Crowther The Critical Aesthetics: passim).

If we ponder a bit longer on the phenomenon, we should not be
astounded by the terminological inventiveness because the sublime is a
category that, for aestheticians, is similar to the beautiful, so it
must be, as the beautiful is, ubiquitous. One can legitimately ask,
however, whether such a capacious theoretical category is still workable
in application. In our opinion, the situation is not so hopeless as it
might seem to be.

The picture of the situation can be convoluted by the widespread
trend to identify the sublime with other aesthetic qualities such as the
picturesque (Labbe, Ashfield and de Bolla, Brennan, Hipple), the tragic
and pathos (Schiller, Albrecht), or even the ugly and thc grotesque
(Nesbitt, Guerlac The Impersonal Sublime). Theoreticians mention such
aesthetic and philosophical notions as Benjamin's aura (Lyotard
Lessons, Erjavec), the Freudian uncanny (Bloom Freud, Morris, Mishra The
Gothic Sublime) or Witkacy's pure form (Zajac). Since Lyotard, the
sublime has also been associated with a notion of nostalgia and
allusiveness. In the context of the sublime, other notions also appear:
shock (Crowther The Critical Aesthetics), suddenness (Bohrer), and the
holy (Otto).

Because of the universality of this phenomenon and because of its
multifariousness, different approaches to the sublime can be
distinguished, although they are not always exclusive. Some of these
approaches are the "theo-anthropological" (Otto),
"intertextual" (Bloom), "psychoanalytic" (Dainotto,
Morris, Hertz, Bloom, Weiskel), "deconstructionist" (Courtine,
Silverman and Aylesworth, Derrida, de Man; cf. characteristic features
of this approach in Ferguson Solitude and the Sublime), and
"postmodernist" (all texts by Lyotard, Rachwat, critical
evaluation in Crowther The Critical Aesthetics). There is a discussion
of the sublime in new pragmatism (Knapp), in new aestheticism (Ferguson
Solitude and the Sublime, Terada), in feminism (Klinger, Freeman,
Williams, Yeager, Edelman), in marxism (Jameson, Eagleton), and in
"black" (Armstrong). The sublime is also attractive to
cognitivists (Tsur) and to suggestion theorists (Cieslikowscy). It seems
significant that structuralists were not interested in the sublime (exc
ept Wieskel, who combines the structuralist approach with
psychoanalysis). The renaissance of the sublime is strictly tied to the
revival of the research interest in the problem of emotions in language
and literature (Oxenhandler).

The motives of this renaissance are quite a different problem.
Conjecturally, pre-Romantics in the eighteenth century saw in the
sublime irrationality, a connection which gave them an opportunity to
fight the predominant rationalism of the epoch. In a similar manner,
postmodernist thinkers of the twentieth century look to the sublime as a
great tool in fighting the mimetic theory of language and the positivist ideas of total knowledge treated as the only proper way of mirroring
reality (cf. Rorty, Altieri). On the other hand, we can hypothesize that
the suggestion has found in the sublime an interesting model of personal
relationships in literature, a model which is totally different from the
structuralist one.

Miscellaneous approaches to the sublime include those by Blake,
Wordsworth, Schiller, Hegel, Schopenhauer, Nietzsche, Mallarme, Freud,
and Benjamin, although these authors do not always refer directly to the
sublime. The picture is clouded because the sublime can be found,
according to some scholars, in theological and religious conceptions of
different cultures and epochs. The theme of the sublime might be
discovered for instance in the Tao te Ching, in the tradition of Zen
Buddism, or in the Revelations of St. Teresa (cf. Sircello). Some
philosophers, such as Wittgenstein, are engaged in the theme of
presenting the unpresentable.

The catalog of names of authors is far from complete(2). The list,
however, illustrates quite well that the category of the sublime is very
popular and ubiquitous. It also indicates that we can talk about the
sublime in given literary works of art regardless of the author's
intentionality.

In the history of the sublime as a term in literary studies, we can
observe that it enjoys special popularity among scholars in the
eighteenth century. Blake, Coleridge, Wordsworth, Mickiewicz, Slowacki,
Schiller, and Poe, to mention a few, were artists who used the sublime
intentionally (cf. for instance Voller about Poe). It can be argued that
current Romanticism implies a positive valorization of the sublime.
Enthusiasm, ecstasy, imagination, pathos--values and qualities
inseparably tied with the sublime--are also irresistibly associated with
Romanticism. A similar affinity exists between the gothic and
Burke's aesthetics. Taking into consideration all terminological
doubts regarding the gothic, we cannot determine which came first:
gothic elements in literature or Burke's theory. In this context,
some propositions offered by Lyotard are slightly puzzling. He claims
that by the time romantic art liberated itself from classical and
baroque modes of presentation, the arts had begun to resemble abstract
art and minimal art. It follows that avant-gardism has its seed in the
Kantian aesthetics of the sublime. So the elaboration of the aesthetics
of the sublime by Burke and later by Kant in the dawn of Romanticism
makes artistic experiences possible, which will be carried out by the
Avant-garde (Lyotard). Indeed, Crowther notices that summarizing
Romanticism in the word avant-garde is justified because the word was
used for the first time referring to the arts in the 1830s (Crowther,
Critical A esthetics 155). Nevertheless, such bold formulas must give
rise to several questions. While it is easy to agree that the sublime is
to be found in the literary works by Blake, Coleridge, Wordsworth,
Mickiewicz, Slowacki, and Krasinski, and even if we agree that the
sublime is the main aesthetic feature of the gothic in such works as
Lewis' Monk, Mary Shelley's Frankenstein, or Poe's The
Fall of the House of Usher, it is difficult to discern thc sublime in
the literary works of the twentieth-century avant-garde. On troubles w
ith defining the gothic in relation to the sublime, see Williams (12-24)
and the introduction to Mishra's The Gothic Sublime.

Lyotard might be right if we look closer at Edmund Burke's
theory that language is surprising and forces the reader to rethink his
or her natural expectations.

In painting we may represent any fine figure we please; but we never
can give it those enlivening touches which it may receive from words.
To represent an angel in a picture, you can only draw a beautiful young
man winged; but what painting can furnish out any thing so grand as the
addition of one word, the angel of the Lord? It is true, I have here no
clear idea, but these words affect the mind more than the sensible
image did, which is all I contend for.
(174)

So the idea of a mysterious affinity between abstraction and the
sublime is present already in Burke. Lyotard likes Burke's idea
that words have some advantages: they bear emotional associations, they
can evoke what is spiritual without referring to what is visible, and we
can, by using words, create combinations impossible to make in another
way. Lyotard adds that the arts, inspired by the aesthetics of the
sublime and looking for powerful effects, can and must neglect imitation
of beautiful models and should devote themselves to combinations which
are astonishing, unusual, and shocking.

If we believe Kant, the principal effect of the sublime might be
rendered as a negative sign of inadequacy of imaginative power in
relation to ideas of reason (The Critique 26). A subject wishes to
present something that is ultimately unpresentable, though conceptually
understood. Lyotard is spellbound by the formula "presenting the
unpresentable" and by the idea of negative presentation. He
contends several times that the artistic procedures of presenting the
fact that there is something unpresentable is very modernist. In
modernist painting, he argues, artists want to make clear that there is
something conceivable that is absolutely not to be seen and not to be
made visible. He ponders how it is possible to make visible that which
is impossible to see, and answers the question by referring to Kant, who
talked about "formlessness" as a possible indication of the
unpresentable. According to Lyotard, Kant discussed abstraction when
describing imagination experiencing infinity. Infinity is a negative
presentat ion (cf. Lyotard, Lessons 150-53).

Lyotard's reflection can also be applied to literature. In
Lyotard's "The Sublime and the Avant-garde," James
Joyce's writing serves as a good sample and illustration of the
modernist means of presenting the unpresentable. In Joyce's
Finnegan's Wake, grammar and lexicon are not treated as gifts of
heaven. They are regarded rather as academisms and rituals that come
from that kind of piety that makes allusions to the unpresentable
impossible. If we agree with Lyotard on that point, abstraction in
literature could be made real by the stylization of gabbling. Roman
Jakobson and Linda Waugh have already talked about parallelism of
abstract painting and experimental futurist poetry (transsense
language). So all literary gabbling can be regarded as a way of
achieving the sublime (Pluciennik "The Avant-garde Sublime").

In this context, it might be helpful to follow Guy Sircello in
differentiating experiences of the sublime, sublime discourse, and talk
about the sublime (541). Aestheticians and philosophers are usually
concerned with descriptions of experiences of the sublime. In contrast,
Pseudo-Longinos was mainly preoccupied with a description of sublime
discourse and, on this basis, with the formulation of a rhetoric of the
sublime, i.e., a collection of more or less formal rhetorical devices
used in sublime discourse. Following Burke, Lyotard would add
abstraction and allusiveness, "devices" unforeseen by
Pseudo-Longinos. If the problem is expressed in this way, it must be a
challenge for all scholars interested in language and literature.
Lyotard broadens the scope of some words and embraces too many domains,
but his proposal could give us a new tool for portraying the rhetorical
category of the sublime.

Assuming after Kant that experience of the sublime is a result of a
subjective encounter with something which is absolutely great or
absolutely menacing (we treat it here provisionally without getting into
the thoughts of Kant), one can theoretically reflect on linguistic means
that can be used by a subject who wants either to express the sublime or
to evoke the sublime in a receiver. (This dialectic of expression and
persuasion is very complex and it deserves a closer investigation.) The
subject is confronted with something absolutely great or absolutely
menacing and expresses an overwhelming feeling: Aa!!! (an example from
Mickiewicz's poetry used by Skwarczyriska in a Polish course-book
in literary studies from 1954).

The most basic way of representing the sublime consists in
representing sublime objects. Theoreticians and philosophers of the
eighteenth century often catalogued those objects, but there is also a
linguistic way of representing the sublime--for instance,
"Aa!," which conventionally signals a desire to represent
something and an avowal of a failure of language.

If we consistently apply Lyotard's reasoning to language, all
negation will appeal to the sublime. We can locate such negative
linguistic figures of the sublime on all levels of language:
morphological, lexical, syntactic, and generic. We can find such
negation in many morphological constructions with interior negative
affixes. There are also hyperbolic negative constructions, which in our
view, code experiences of the sublime (e.g., unbounded, infinite,
boundless, limitless, etc.). On the lexical level, we can also point at
vulgarisms, which are not often used in literature in this function--to
present the unpresentable--but theoretically they can occur in regular
language usage. All kinds of mysterious words, glossolalia, and
stylization drawing on a strange unfamiliar language can be regarded as
a perfect medium to present the unpresentable (cf. Jakobson and Waugh;
for a presentation of the difference between onomatopoeic language and
sound symbolism, see Cruse 34-35, 46). Of course, the main figures of t
he sublime are traditional rhetorical figures, the semantic mechanism of
which implies negation, such as the oxymoron and paradox (Otto wrote on
the connection between paradox and the sublime in 1923, see also
Cieslikowscy) or just hyperbole (the mechanism here is complex), of
which personification can be seen as a type. All preteritions,
aposiopesis, and silence must be regarded as figures signaling
unpresentability. On the syntactic level, we must mention ellipse and
running of thoughts. Rhetorical rhythmization also deserves our
attention--the power encountered by the subject is so great and
overwhelming that the subject is subordinated to the rhythm
(Skwarcynska). We can list some genres apt to evoke the sublime: odes,
hymns, psalms, benedictions, maledictions, epitaphs, invocations,
swearing, puzzles, etc. (cf. Deguy). The aforementioned linguistic means
all presuppose an encounter of the subject with something beyond his or
her imagination. All the figures of the sublime are more or less
conventional, a nd they can occur in literature and outside it.

The sublime allows us to correlate miscellaneous linguistic
phenomena and perceive them in a new light. But the most tempting aspect
of the sublime is the fact that it seems to embody a very particular
theory of language and a whole model of relationships between
participants in the process of communication. In this model of language,
notions such as identification, imagination, emotions, and communication
play the main role.

These figures are rhetorical in the sense that they intend to
persuade (Cicero) and in the sense that persuasion applies to actions
which change attitudes (Kenneth Burke 49-83). Jahan Ramazani explains
the interdisciplinary character of the theory of the sublime:

The sublime is not a genre, and its theorists are happy to
emphasize its fluid movement across generic boundaries. Nevertheless,
the sublime has an affective structure and a rhetoric--among the
qualities that define genre--sand so it might be though of as an
extended mode, related in turn to other modes, such as the apocalyptic
and the curse. (175)

It can be argued that we can encounter such conventional sublime
accessories more often today in films and television. It is a particular
paradox if we think about the sublime in Lyotard's manner. But it
is obvious that such film genres as horror (stemming from the gothic),
catastrophic films, or science-fiction all depend on the aesthetics of
the sublime. Also politicians could refer to the experience of the
sublime when organising military parades with shows of the newest war
technology (Crowther, The Kantian Sublime 165). The rhetoric of the
sublime may be very useful in advertising; consider for instance the
presence of the sublime American landscape in Marlboro advertisements.
Television shows broadcast during the Gulf War were fascinating for
people around the world in part because of the technological sublime
present in them. The seductiveness of the Internet might also be
explained when we take into account the peculiar unpresentablity of
cyberspace. Our future book will focus on linguistic means of e
xpressing experiences of the sublime and on a model of language and
communication presupposed by this stylistic sublime.

Acknowledgements:

We would like to thank anonymous reviewers of Style for their
helpful comments on the first version of the article as well as Danuta
Stanulewicz for her help in preparing the final version.

Notes

(1.) Parallels have been found between Pseudo-Longinian treatise
and a Chinese Wen Fu (302 r.) by Lu Chi (Lu Ji). Cf. Macksey 923-24.

(2.) We used here data also from Annual Bibliography of English
Language and Literature, Chadwyck-Healey Ltd., as in March 1998.

Works Cited

(Because our article is a bibliographical guide to the theory of
the sublime we include a select bibliography, and not only a works
cited.)

Abrams, Meyer Howard. The Mirror and the Lamp: Romantic Theory and
the Critical Tradition. New York: Oxford UP, 1953.

Bialas, Zbigniew. "Multitude of Ecstatic Butterflies: A
Glimpse of the Sublime in Kitsch." "The Most Sublime
Act:" Essays on the Sublime. Ed. Tadeusz Rachwal and Tadeusz
Slawek. Katowice: US P, 1994. 111-19.

Courtine, Jean-Francois. "Tragedy and Sublimity: The
Speculative Interpretation of Oedipus Rex on the Threshold of German
Idealism." Of the Sublime: Presence in Question. Trans. Jeffrey S.
Librett. Ed. Jean-Francois Courtine, et al. Albany: State U of New York
P, 1993. 157-74.

Crockett, Clayton. A Theology of the Sublime. London: Routledge,
2001.

De Bolla, Peter. The Discourse of the Sublime: Readings in History,
Aesthetics and the Subject. Oxford: Blackwell, 1989.

Deguy, Michel. "The Discourse of Exaltation: Contribution to a
Rereading of Pseudo-Longinus." Of the Sublime: Presence in
Question. Trans. Jeffrey S. Librett. Ed. Jean-Francois Courtine, et al.
Albany: State U of New York P, 1993. 5-24.

De Luca, Vincent Arthur. Words of Eternity: Blake and the Poetics
of the Sublime. Princeton: Princeton UP, 1991.

Escoubas, Eliane. "Kant or the Simplicity of the
Sublime." Of the Sublime: Presence in Question. Trans. Jeffrey S.
Librett. Ed. Jean-Francois Courtine, et al. Albany: State U of New York
P, 1993. 55-70.

Ferguson, Frances. "A Commentary on Suzanne Guerlac's
'Longinus and the Subject of the Sublime."' New Literary
History 16.2 (1985): 291-97.

_____. "The Nuclear Sublime." Diacritics (1984): 4-10.

_____. Solitude and the Sublime: Romanticism and the Aesthetics of
Individuation. New York: Routledge, 1992.

_____. Observations on the Feeling of the Beautiful and the
Sublime. Trans. John T. Goldthwart. Berkeley: U of California P, 1960.

Klinger, Cornelia. "The Concepts of the Sublime and the
Beautiful in Kant and Lyotard." Feminist Interpretations of
Immanuel Kant. Ed. Robin May Schott. University Park: Pennsylvania State
UP, 1997. 191-211.

Slawek, Tadeusz. "'Sublime Labours:' Blake,
Nietzsche and the Notion of the Sublime." "The Most Sublime
Act:" Essays on the Sublime. Ed. Tadeusz Rachwal and Tadeusz
Slawek. Katowice: US P, 1994. 28-42.

Ware, Malcolm. Sublimity in the Novels of Ann Radcliffe: A Study of
the Influence upon Her Craft of Edmund Burke's Enquiry into the
Origin of Our Ideas of the Sublime and Beautiful. Lund: Carl Bloms
Boktryckeri, 1963.

Kenneth Holmqvist (kenneth@lucs.fll.lu.se) is an associate
professor at the Department of Cognitive Science, Lund University. He
has published over fifty papers in a wide variety of areas where visual
attention goes hand in hand with language. He is now the head of the eye
tracking laboratory at Lund University.

Jaroslaw Pluciennik (jarrek@krysia.uni.lodz.pl) is an adjunct at
the Institute of Theory of Literature, Theater and Audio-Visual Arts at
the University of Lodz, Poland. He has published two books: Retoryka
wznioslosci w dziele literackim, Krakow 2000 (The Rhetoric of the
Sublime in the Literary Work of Art), and Figury niewyobrazalnego Krakow
in 2002 (Figures of the Unimaginable). A third book about poetics and
empathy is to be published soon.

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